Gen Urobuchi needs no introduction and the moment I stepped inside the interview room, I sensed a unique atmosphere filled with the promise of a memorable conversation. Urobuchi-san exudes a professional demeanor where one could easily discern that he takes his job seriously even before he spoke. He often had a thoughtful look.
The Paper: Thank you for allowing Anime Diet the opportunity for this interview. Let’s start with something light. What was the last anime you watched?
Gen Urobuchi: Do you mean one that I have completed or still ongoing?
TP: Good point. Finished please.
GU:Kids On the Slope and Tsuritama, only because they showed them back to back on TV.
TP: You’re known for “darker” stories. What compels you to explore thus? What message are you hoping to convey?
GU: I got into anime during the 80s. Back then, there was no moe. Just about everything was “dark”. I am just trying to bring old sense into new styles.
TP: We heard you had the idea for Madoka for years. Why did it take so long for it to get produced?
GU: It wasn’t intentional. Studio Shaft was already fully booked at the time.
TP: The ending to Madoka has theological undertones. Tell us a little about your own religious philosophy and how it influences or guides your work.
GU: [He looks rather thoughtful] Hmm….As a genre, magical girls is a world view filled with emotions and kindness and happiness. Madoka came about as if emotions are not part of the girls but stood alone by themselves.
TP: There are a lot of aspiring writers. Unfortunately, most of them lead busy lifes…jobs, family, etc. What advice do you have for those with so little time?
GU: It’s not about having the time. It’s up to destiny. Screenwriting doesn’t take a long time. It’s inspiration that takes time. [He touches his temple upon the word inspiration] Time and training won’t give you inspiration. It’s almost luck. Writers are people just like you and me, people from various fields. There is no formula.
[Interpreter finishes translating and I am still busy note-taking when he continues.]
GU: One thing is for sure. If the chance arises and inspiration hits, you must seize it. In fact, having a busy life would lend itself to better writing. Put life experiences towards the writing.
[I am looking at my list of prepared questions and I hesitate because I had one asking about his impression of moe which he touched upon earlier. But I am running out of time so I went with something lighter.]
TP: Do you get much fan mail? What was the most memorable?
GU: It’s not often that I get fan mail. When others mention my work or praise them, I consider those fan mail.
TP: Again, thank you so much.
[He smiles and bows slightly.]
As I am standing to leave, I gesture to my shirt and remark that he’s wearing Rider’s tee. The interpreter translates and he nods rather charmingly in a solemn fashion almost as if it’s his duty to do so.
The only thing worse than offering a break from the expected, is to turn one’s back on it at the last moment. Which is exactly what it feels like watching the latter half of Lupin III’s return to TV. About a good half of the show seems hellbent on showing us some new dimensions to what are ostensibly a cadre of unbreakable, traditional characters. So imagine my response when upon the show’s final episode opts for a neat-fitting return to status-quo. It’s not wholly unexpected, but seriously- this is what it means to cower in the face of making your own name. It is the powers that be getting cold feet, and backing off when the world has indeed been ready for something new.
To support this stance; a little look back at previous episodes not covered in The Fujiko Telegrams-
(But first, a look back at an earlier installment.)
Episode Six: Prison Of Love
“Women never show themselves in natural form.”
What may look to many as a means of catering to an unexpected audience, a lot of this school-centric episode is playing directly with gender expectation, as well as with yuri-bait imagery and themes. It is here that we get a bigger hint of the kind of dangerous character Zenigata’s charge in Oscar truly is. Clearly the product of some truly confused bouts of sexual repression, his only true aim, is in punishing the feminine in his own warped manner. He lives as a shining example of an old world’s values at odds with the manner of independent creature Fujiko is. She, herself a reaction to the popular social tenets of the day, is unconcerned with what is supposed to be her “place”.
Which leads to some truly telling revelations regarding the potential of the series.
Flash Forward to
Episode Eight: Dying Day
Renowned fortune teller, Shitoto’s source of foresight is stolen by Fujiko, leading to some disturbing information regarding her past. And even though the episode features a decent amount of Lupin, attempting to clear his name of several deaths, this one attempts to reveal more than has ever been attempted with these characters. Mamo lookalike aside, the show offers up flashbacks of a nighmarish childhood, visions of terrible abuse, and a decidedly dark ending. But the theme of repressed/abused femininity is made explicitly clear, charting new territory which had never really been explored before in any incarnation of the franchise.
Episode Nine: Love Wreathed In Steam
What again on the surface starts like a more routine Lupin & Goemon on a merry chase episode, becomes a more troubling look at femininity as commodity, and of the greater questions of pathology the series seems to be ready to ask. In nearly one fell swoop, this one over nearly the entire series, is the one with a great deal more on its mind than the expected sexy caper action many come to expect. With Lupin & Goemon attempting to protect a legendary illustrated woman from a gun-toting, clearly deranged Fujiko, we have an example of a socially accepted chain in dire need of breaking. Bringing Lupin up to speed on what makes Fujiko so attractive, yet so terrifying, while not completely convincing, is fascinating. The show at this point is at the door, banging loudly at a world that women like Fujiko were born in, and forced to exist with.
Episode Ten: Ghost Town (Story by Monkey Punch)
As we follow the dark path laid forth by the previous episodes, we now find ourselves in the belly of the beast as Lupin is tapped by the enigmatic organization surrounding the narrative, and seeks out to find the truth, and discovers a long thought abandoned wreck of a town. A place of terrible memories, and an even worse aftermath. It is here that we tie together numerous dangling plot threads, and also meet a figure from Fujiko’s past that may make some eyebrows levitate. But at the core here, is that Lupin is caught in the middle of something here that offers up an unusually dire set of circumstances. The show seems primed and ready to take itself into some bold, new areas.
Episode Eleven: Feast Of Fools
As a ramp-up of sorts to the two-part finale, we get our ultimate Oscar episode which again taps into pathology, this time within the obsessive mind of our “lawful” foil. And what ensues is something of a jumble as Oscar attempts to put a final kabosh on Fujiko, but is well worth the watch due to containing one of the series’ most visually impressive scenes as he explains “the perfect plan”. And naturally the episode is a bit packed on the event side as things careen toward a finale of sorts, but not before an explosive finish. At this point, worry began to settle in as it feels very much like the new wrinkles in the “mythos” might easily go in problematic directions.
Episodes twelve & thirteen: A Woman Called Fujiko Mine
The big finish is a wild, noisy two-parter in which Zenigata joins Fujiko in finally facing up to the spectre of her past, Count Luis Yu Almeida. Possibly the man most responsible for the Fujiko we know so well. They, later joined by the Lupin and the rest of the gang finally converge on a terrifying amusement park (House Of Fujiko), and the disturbing secrets within. The final connections between the second and first halves come together, but in such a wayward fashion, it makes the brain throb just to think about it. Were these the answers all were seeking? That we were? Where am I? What is happening? I thought we were doing something ne- Forget it…
And so the real problems pile up when considering all that came before. That this was to be a Lupin series with the focus shifted toward a popular supporting character that was never truly given her due, and could do with a more contemporary slant. Even from a retro-standpoint, this was something that had never really been given much thought in any rendition of the Lupin franchise prior. Definitely a product of a bygone era, Fujiko is something of a masculine vision of a “liberated” woman, and something of a negative one at that to be frank. What we ended up receiving here was closer to being caught between two potential justifications for this famous character’s demeanor and perplexing nature. And while the show is in fact set in very much the same world that the characters originated, shows are far more capable now of adding dimension to these initially very simple archetypes. So when Fujiko Mine begins to wander into potentially groundbreaking new areas with a revealing backstory of our title character, it seems that the very notion that a rare quantity such as a female anime director would be capable of saying something forward & bold with the palette she has. But as it stands, the finale grinds to a halt when it openly admits that nothing could possibly change, and that this is all the justification she needs. Something which can in some respects make some of the more patient old guard fans happy, and the rest potentially frustrated.
This halfhearted attempt at selling off Fujiko as a victim, only to revert to old notions of empowerment is the kind of misstep that undermines the entire series, and makes it hard to recommend for anyone other than animation fans, or those looking for something out of the realm of contemporary anime norms. Both options end up being unsatisfactory, to be fair. But what we have, is perhaps those in charge buckling at the last moment, unwilling to break with tradition, and caving in to old hat misogyny, and objectification. Not that it was not there throughout the series, but it at least seemed ready to question all of it. The world has moved by great bounds since the inception of Fujiko Mine. To see that denied proper reflection with such an aesthetically unique, and potentially forward-thinking series is a bit of a tragedy.
Welcome back to Round the Sphere! Now that everyone is hungover on AX and SDCC, let’s get drunk on more fandom goodness!
Go here now. Just do it. You will thank me later. They even take requests!
Ever wanted to proclaim your undying love of CLAMP to the universe? Here’s your chance! Manga Bookshelf’s upcoming Manga Moveable Feast revolves around all things CLAMP. From July 23rd to July 29th, everyone is invited to write about anything.
And if one week is not enough, one of my favorite bloggers has a full schedule all planned out!
Calling all manga lovers. Tezuka is trying to kickstart Unico and Atomcat into English specifically for kids. Less than 24 hours left to go!
What do these sentences have in common? Everyone will live on inside someone else’s heart, entrusting their wishes and dreams to those they leave behind. It takes an idiot to do something cool, that’s why it’s cool. This summer was filled with more happiness than some people have in an entire lifetime.
Unfortunately, Round the Sphere will take another hiatus next week due to Otakon. Lest we end on a sour note, have some more… mangahere.
The small press conference with Moretsu Pirates, Rinne no Lagrange, and Martian Successor Nadesico director Tatsuo Sato—as well as the follow-up private interview—is one of the richest dialogues we’ve ever had with an anime creator. We hope you enjoy this inside look behind Sato-san’s thought process in making Moretsu Pirates, Lagrange, and other shows. Some tidbits that perhaps have never been shared, like the origin of Lagrange’s OP, are here.
Translation by Rome. Our questions, which compose the vast majority of them, are in bold.
How do you feel the anime industry has changed over the years? Well, the biggest change was when I went from being a producer to a director. The job has become mostly about how to communicate with people, so I came to be able speak like I’m doing now.
In Moretsu Space Pirates, there seems to be a deliberate upending of expectations in the way the show is paced and the characters built. What was your process in deciding how to adapt the original novel into an anime? Was there an eye in particular to recapturing certain approaches that are less common today? The original work was a novel. Each episode advances the story, but [since the anime has to come to an end before the novel’s story ends] it’s weird to have to say “stop” to the main character’s growth, right? The main character becomes a high school student, and from there the [anime and novel stories] run alongside each other like parallel lines. But the story goes on past that; if you read it in a long run, that would have been okay, but if you adapt an anime in parallel with the novel, you don’t have the freedom to deviate. This anime series has 26 episodes, so rather than just simply adapt the novel, it has to build up to a rising climax to end the story. That’s how I restructured the story, making sure that the character will end her growth after 26 episodes of the series.
So the anime series only focused one part of the story. Well, this I directed is “moretsu” (gung-ho, bodacious), but it’s not moretsu in the beginning. The story is about how Marika becomes a “moretsu” pirate.
Nadesico was one of the first shows to use certain “meta” techniques in anime: Gekiganger-3, the parodies of contemporary anime, etc. Now these techniques have become widespread. What is your opinion of that trend? Well, speaking of Nadesico, the meta is heavily involved is the first part of the story. But to tell the story all the way through meta techniques is difficult in terms of the structure. Although it is now used a lot, it is really difficult for the meta to be involved with the core of the story.
If you could collaborate with another great director in the anime scene, like you did with Masaaki Yuasa in Cat Soup, who would you like to work with? Yuasa is a guy who entered the anime industry at the same time as me, so he is like a close duplicate of mine, so I know his greatness. Well it will be rude to say it like this to him, but I was interested in “what if I make anime based on him?” so I did it. This type of person is rare; although I have some people that I’d like to work with, it is rare for me to create works with that in mind.
Can you talk about Rin-ne no Lagrange and the degree of your involvement as the chief director? Well, the production is still going on. When Morestu Pirates just started, I was asked to also join the Lagrange project. So it was impossible for me to fully participate. The main part I did was in directing the construction of the project. The basic form of the series, scenario writer, and director are under me, but the real filmmaking was done by them.
The original work has two cours with a total of 24 episodes. Of course as the story goes on, it will deviate from the original plan. When they lose track of what the goal and wander into dangerous territory, you advise and support them. Very much like—well, it’s weird to say “from above,” since I’m not involved on set, as it were, but that was how I was involved.
Do you have any specific examples? [The basic concept is that] a girl rides on a robot and fights the enemy. First, there was already talk that we’ll make a robot anime with a girl as the main character, but it wasn’t concretely clear what form and what kind of a girl, and everyone was thinking about how to do it. They said “let’s do something that’s never been before,” but they can’t come up with any idea. Well, if we want to have a girl that’s never been seen before, let’s do a “disappointing beauty” (zannen-bijin or zannenkei-bijin; think Chihaya from Chihayafuru). She is cute, but can’t be too [cute in the usual way]. So, for example, let’s put a jersey/tracksuit on her. Let’s tie her hair with a rubber-band. She’s not like the typical “good girl” that is liked by everybody, the everyone might want her to be, but she’s more merry, out of the ordinary. So what happens if this kind of girl is the main character? That’s how it started.
Lagrange seems to have some similarity to Evangelion: you’ve got a blue uniform girl, an orange/red uniformed girl, but Madoka is very different from Shinji. Was this intentional? After all, Nadesico had parodies of Evangelion. It’s not so much a parody of Evangelion…actually Evangelion is very much a summation of the whole history of robot anime, where a boy that has never ridden on a robot [learns to] ride it and look for his purpose. It started from Mazinger Z, whose plot is the “royal road” of robot anime. Evangelion took the same road: what if you put a boy like Shinji in the robot? That’s how Evangelion was made. So, in terms of that, this is similar: what if we put a jersey girl [in a robot]?
Anime is still stigmatized in USA as being for kids. What about Japan? Shouldn’t anime appeal to all ages and all walks of life?
There were many people from the prior generation before mine making anime for kids, but with messages for adults inserted along the way. And we watched them and grew up, so of course, we adopted those tastes and we don’t really care if it is targeting the kids. We learned much that as a format that anime might be for kids but with messages for grownups—but we have a sense that kids are also getting our message anyway, so I think continuing in this mode is okay.
How did you approach Shigofumi? It was deep and philosophical.
Shigofumi wasn’t for kids so much, but rather for late teens, like high school students to college students. [It was] an anime that those kind of people will watch. But despite that, we didn’t make an excessive depiction visually. But, indirectly we had to depict the anger that can be understood. So we intentionally did that.
What was the most difficult making the characters and environment?
Well, the most difficult part was that the character should not be swayed, but at the same time had to grow up. So, how to depict his growth, it’s kind of contradictory. He can’t be swayed, but not being swayed doesn’t mean he can’t change in some way. So, the hardest part was how to balance that.
Do you find it more difficult adapting anime from a novel or manga than creating original anime?
Even for original works, it depends on taste. Speaking of light novels, there are already illustrations, so the novel and illustrations together already create a preset image of the story. Reconstructing that into anime is very tough. Readers are very narrow. so if you make it into anime, the leeway given to it can be very narrow. And we have to work with that and explore it, and we have to bring out the unique qualities of anime. We have to make visuals very precisely, so it’s very tough. We can’t do location shoots!
The anime industry has changed a great deal since Nadesico. Do you think today’s industry environment makes it difficult to tell the stories you like to tell? (Clarification requested by translator.) Well, since Eva, we’ve seen the rise of the otaku subculture, the moe culture. Moretsu seemed different from that trend. Is it hard to make an anime like Moretsu today? On the contrary: since the time of Eva until now, the anime cycle is getting faster, so how do you not get sucked into that trend? And what is the best thing to do? And the conclusion I drew was to make it the orthodox way, and that was it. And I thought that instead [people] would see a new thing, to see characters growing tremendously through 24 episodes: to see how the characters make decisions, to show the process of growth. I had a keen sense that would become the tastiest part of the anime, so this time I’m glad I made anime in that manner, and it was great to know that people really digging that kind of stuff are increasing.
What is the most important element to make anime? Well, anime in this case is TV anime or… all anime? Ok, the most important thing in anime is basically that it is a medium that is bound by a running time, so there’s a [limited] sense of time (temporary art). So, for example, if you structure 26 episodes at 30 minutes each, then you have to think about the flow, and even with the artsy anime has to fall within the structure of what should you depict in that set time.
Was it your idea to bring Rasmus Faber to write the OP of Lagrange (“Try Unite”)? Well, in this case, we had a competition. There were several contestants, and among them there was a foreigner whose name wasn’t familiar, and I was like, “who is this dude?” And I was told he was Rasmus Faber. And Lagrange’s music production company was Flying DOG from Victor Records. Victor Records have released Rasmus Faber’s CD albums, and that’s how we had connections through that. And Faber personally dearly loves Megumi Nakajima’s voice, and he particularly wanted to compose a song with Megumi’s voice. That’s how he appealed to us with that story, and he entered the competition, and that was really hilarious. So, [I said], let’s give him a shot! That’s how it was decided.
What role has technology played in making anime? Is it easier to make anime now? Oh yes, certainly, it makes you feel that you can do anything with it. However, along with those benefits, you have to really make sure you know what you want to do with it, otherwise you will be distracted with the flow. So, you always have to ask yourself what you really want to do each time technology makes progress. And that is very important.
Kono naka ni imouto ga hitori iru, or Naka-imo. Who is “IMOUTO”? Very much like Princess Lover, which I loved dearly. So, whoever hates Princess Lover must be a…no, I’m the most open minded person on earth. Anyway, this is about a son of a zaibatsu and there is his long lost little sister among potential bride girls that he’s gonna have to choose. Yes, like the Bachelor series, but the joker is his imouto of a different mother since his father was a playboy.
Oh yes, Tora-san had a long lost imouto from a different mother. That’s why I love Tora-san. But unlike Tora-san, his sister is unknown to him, so it’s very dokidoki to see who turns out to be his imouto. The bride would be his imouto 20% of possibility. Yes, 1/5. Russian roulette!
Ah, I love the one with long black hair and big oppai. Konoe! Oh my gosh, she is a very proximity close heroine (超接近型ヒロイン)! Yes, skinship proximity, even kiss range! She tries to comfort you by putting her own forehead on your forehead. A feint of kiss. I thought she was going to kiss him! Gaaahhh. What a teaser!
And she does uwamezukai (upperward glance) when she looks at you. I’d totally fall for her.
And she buys you a shoe cream (cream puff, or chou à la crème), which is her favorite food, just to share with you exclusively! That exclusivity, kyaaa!
And she acts shy when she’s walking with you. Ah, how kawaii!
And sitting on a bench at a park, eating together, sharing shoe creams. How romantic~.Ahhh, if a cream on your face, she will wipe it off with her handkerchief while her glittering pupils look straight into your eyes. Yes, like Chitanda from Hyouka, also my favorite 2D girl!
And while wiping off, she protrudes her chest, and her oppai juggles. And the same timing, the earthquake emergency news pops up on the screen, “JNN earthquake emergency news: earthquake happened around 2:04.” So, otakus went, “Yeah, GD (good job)! Earthquake!” And the earthquake happened in Fukushima!
Yes, this is a Panglossian anime because the earthquake is causing her cream puffs (that’s what she refers to her oppai) to wobble, which makes otakus ecstatically happy, instead of a usual earthquake bringing catastrophe. “All is best for the best of the best of all possible worlds.” Voltaire wrote Candice to criticize that dogma. He brings up the 1755 Lisbon earthquake to refute that claim. Also Voltaire’s novel was quoted by Ivan to refute Alyosha’s theological position in The Brothers Karamazov. I used to share the same view with Voltaire, since I experienced the 1995 earthquake and Tokyo subways nerve gas terrorist attack, and the same year Evangelion came out on TV. Probably many Japanese are sharing the pessimistic view due to the recent tsunami in Northern Japan. But now I will bring up this Fukushima earthquake to change my stance. Even an earthquake is contributing to the best of all possible worlds. Yes, the best of 2D world! Leibnitz would be smiling in his grave when Konoe’s oppai was wobbling! Boobquake. Seismoppai! This is the true Opus Dei, the work of God! Oppais Dei!
Here’s our translated transcript of the Yuki Kajiura/FictionJunction press conference at Anime Expo 2012. Some questions were not translated precisely, and we have noted when this happens. It may also account for some of the vagueness of the answers.
Our questions, as always, are in bold.
Would you say your music style has changed since you started composing soundtracks?
Ever since I started composing soundtracks, the music I create has changed a lot.
When did your love affair for music begin?
When I was in elementary school, I was in the chorus club, and I belonged to the chorus club for a long time, and so the first song I composed was a chorus piece.
When you first started your musical projects, where did you look for your inspiration?
By “project” do you mean FictionJunction? Umm, it depends on the songs, I don’t have any pre-decided place to search.
What inspired you to form Kalafina?
For Kalafina, I wanted to make focused (lit. “narrow”) music. For FictionJunction, I have to try everything I come up with; for Kalafina, I only want to try what Kalafina is supposed to sound like.
You tweeted that you’re a big fan of the Beatles. Who are your favorite bands and composers through history?
There are too many to narrow it down, but I like Paul McCartney the most from the Beatles. I love Paul’s songs. ANd I also like Queen, ABBA, Mike Oldfield.
Any other composers who inspire you?
If you say composers, I think Paul McCartney and Mike Oldfield are composers as well, But I don’t have a certain composer that I feel “this one,” since there are a lot of composers. I think I’m influenced by a little bit of everything.
Are there any future projects that you can tell us about?
There’s nothing I can talk about.
Many of the shows you’ve scored have a strong Gothic overtone. (Petit Cosette, Kara no Kyoukai, Fate/Zero, Madoka, the costumes of Kalafina) Are you drawn to that genre of anime in particular and if so, how so?
Is it gothic? I wonder Madoka and Fate/Zero are categorized as gothic, but I am certain that those shows are written in a dark and deep world. Yet, I don’t get offers to compose for anime that are merry and happy.
Question for Wakana and Keiko who are both in Kalafina and FictionJunction. What would you say is the key differences between the two bands? Keiko: Yes, as Kajiura just said, FictionJunction does whatever Kajiura wants to do for soundtracks and anime, and Kalafina’s group sense is not like FictionJunction’s, so they are very different in terms of musicality.
Kajiura-san, in 2003 you did a concert at AX. What is it like to come back in 2012?
When I did the concert in 2003, it wasn’t a full band. So, this time, I can bring all the members of the Yuki Kajiura live band, as we always do in Japan, so I think it will be very exciting.
Could you tell me more about your Latin style chant music? What inspired you to create that sound, which is such a striking and iconic sound for you? What was your inspiration and where did it come from?
I only wrote one real Latin song (“Salva Nos”). But I use a lot of artificial language. I have huge fun creating songs with an artificial language because artificial language can make the melody stand out.
You were involved a lot with studio BEE Train. How did you get involved with BEE Train, and do you want to write music for “girls with guns” show again?
When I first worked with BEE Train, director Koichi Mashimo was the one asked me to work for the project. This first anime soundtrack I had worked on [with him] was “Eatman” (1997). And since then, because of that, Mashimo has asked me often to work on his projects. Of course, I want to make music for a “girls with guns” show again if I have a chance.
What is the most important element in composing music for anime?
The BGM and the scene have to match. I think basically BGM should be put behind the scenery. It’s not the character, but if it matches the character’s worldview, I always think that will be the music will make the anime’s worldview colorful effectively.
For Kajiura: J-pop is popular around the world, and your anime music is known internationally. How do you feel about that?
As a musician myself, I think Japanese animation is a very interesting field that can experiment with a lot of things. So, I’m very proud as a Japanese person that people around the world are paying attention to anime and watching it. It’s an honor to be part of it if my music can help people around the world to enjoy anime. I receive a lot of emails from various types of people around the globe through my homepage and website. It warms my heart when I realize how many people around the world are watching anime.
How do you get to know all these talented people?
It’s really difficult to find the right singers. And a lot of people introduced these singers to me, then I had finally made it to meet them. Everyone is so different and unique as a singer, but all of them are my ideal singers.
Was there any soundtrack that you found difficult to compose?
I had gotten an offer to compose for Mai-HiME. When I received it at first, I was worried if I could make music for such a cute show. But by the end, when the story turned out to be very scary, I didn’t get confused when I started writing the music.
How is it working with each other as FictionJunction? Wakana: Everyone has a wonderful voice, and everyday I’ve enjoyed having stimulation from the other singers. Keiko: There are four people, so we are all different, unique individuals, so it’s very stimulating. Every time, there’s plenty of laughter, and I enjoy doing this music. Kaori: I usually sing alone by myself, so it’s an honor to work with the wonderful singers and I love being able to sing with a chorus. Kaida: I usually sing with a chorus, but I haven’t done much with a quartet, so it’s good to sing together with 4 of us solidly. I feel like I can get a young power and strive, so I’m enjoying doing this.
What kind of composer do you want to be remembered as?
First of all, I really love doing anime music, I love doing BGM and soundtracks. Composing music along with motion pictures is a very exciting thing, so if I can, I want to be remembered as a soundtrack composer.
Are you fan of anime, and do you have any favorite songs that you composed for anime?
I have several; I liked the Mushishi manga, and when it was animated, it perfectly matched the manga, so I bought the DVD collection for the first time. And a few years ago, Gurren Lagann was airing in the morning, and it was a good, very energetic anime that invigorated me every day, and I kept saying, “I liked it I liked it,” and so I got the DVD as a gift and I watched it all.
For FictionJunction: what music have you listened to that energizes you?* Wakana: I like the songs I sing, but I love a lot of other music too. If I must choose, I like Spitz, and they always energize me. Keiko: I love dance music, so currently, I love Lady Gaga. To feel upbeat, I just listened to her and came here. Kaori: I don’t listen to music to get energized usually, but as a result of being energetic from listing to music, I will say that Makihara Noriyuki, a male Japanese singer, his songs inspire me to live courageously. Yoriko Kaida: Lately I like Genki Rockets, and I listen to them often, and I get energy from them.
When you hear other soundtracks, do you ever think “I can do different”?
It’s rare for me to listen to other soundtracks negatively like “I would have done it differently.” But I study soundtracks by listening to various kinds of soundtracks.
How is writing music for Gen Urobuchi (Fate/Zero, Madoka)’s stories different from other works when you do soundtracks?
Urobuchi-san’s stories are very compelling, and they have the power to entrap me. Rather than saying his works are different, his works seem ready-made to write songs smoothly. There is a certain constant rhythm in his scenarios; I can clearly see that here is the climax, and here is the blablabla, and I just need to put music to that part: so it’s makes it easy to find musical inspiration for each scene.
*This question was actually a mistranslation of what I originally asked: “Which pieces of Kajiura’s has moved you so much, it made you cry?”
FLCL in the early part of last decade aired as an anime on Adult Swim, and pretty much took teens of America at that time by storm. Tokyopop at the time also got to release the graphic novel, in a two volume series, but now roughly about ten years later, FLCL gets re-licensed and released by Dark Horse as a remastered completed omnibus. The art is done with strong ink black lines, with sparse panels and detail. For all intents and purposes, the chapters are also episodic, and what a trippy trip this is, and in my opinion not for fans who expect a well rounded story line.
Though for those who are adventurous, would you happen to want to have things being pulled out from a hyperspace hole from your forehead? I definitely wouldn’t, but it is what Naota has to face, as he goes from an unwilling teenager into a town hero bent on saving his town from getting involved in an interstellar conspiracy.
Possibly due to the medium, but FLCL the manga didn’t capture my attention the same as the anime did. It certainly didn’t translate well, for as I read this book, I can’t help but think back and get completely distracted by far reaching comparisons to the what I thought was a fantastic anime. It certainly wouldn’t help, that I kept on listening to the music, and recall my memories of watching The Pillows in concert.
I definitely see this manga as fitting a market niche for existing FLCL fans, but I wonder on how it would do as sales for people who are newcomers. I certainly don’t find this an enjoyable experience for those who won’t enjoy reading short bursts of humor like what they usually do in 4-koma type books. I can see similarities to being like a warped darker version of .hack, and Soul Eater. Do you?